For Question of the week, we asked DPReview readers what secret photo spots they knew about that favored their photography. From abandoned buildings to pristine landscapes tucked away in remote mountains, many unique places were revealed.

I liked how gpwitteveen summed up not-so-secret locales that still provided visitors with a worthwhile personal perspective of the area:

"Hiding in plain sight, as they call it, is something often very satisfying to explore. You may have visited a spot a few times before in different lighting, season or weather conditions, but then you see it in a new light (pun intended), and it comes alive as never before. That never ceases to amaze with something bordering on magic: how could this familiar spot now take on a very different aspect?"

And PhilippeC95 had great insight for visiting the busier locales:

"There are well-known tourist places which are quite different when you get there outside the normal hours."

Click to the next page above to begin the slideshow of our selection of reader photos.

tresemes: I used to travel a lot, but when I became a father, I knew photographing landscapes halfway around the world would be on hold for the foreseeable future, so I had to find places close to home. We have a few famous-ish photo spots, but that wasn’t gonna cut it.

So, I spent hours scouring Google Maps, doing odd searches like “some-random-town-an-hour-away + landscape,” and trying to pinpoint locations. It was almost a hobby in its own right. I discovered everything from waterfalls to places that look like discount Dolomites, some of them requiring an hour-long hike on top of an hour-long drive, but it was worth it. I got to photograph beautiful places that, as far as I know, no one’s photographed before.

I also revisited childhood places with different eyes, like this beach near Castellon, Spain.

Share your secret photography places with the community

Oeyvind: My favorite place is Trollheimen, a mountain region in the middle of Norway, which I visit several times a year.

Share your secret photography places with the community

PhilippeC95: There are well-known tourist places that are quite different when you get there outside the normal hours. In this example, I took photos in Thailand, in the historical city of Sukhothai. We arrived around 7:00 a.m. to get good lighting and a limited number of tourists. You travel through this old city by bicycle, which makes the experience even more incredible (cars are not allowed inside).

Share your secret photography places with the community

Paul Peterson: Martin's Landing is a large (2,000 homes) community in Roswell, GA, with a public walkway around its 53-acre lake.

Share your secret photography places with the community

NiVoak: The Tosco-Emilian Apennines, above Reggio Emilia, Modena and Parma, in Italy. I can often walk all day without meeting a soul.

Share your secret photography places with the community

RDCollins: This photo of the Ponte Vecchio ("Old Bridge") in Florence, Italy, was taken more than 20 years ago from our hotel balcony during a break in a horrendous storm that was battering Europe, and has remained one of my favorites. The bridge was built in the 14th century and is still in use today.

Share your secret photography places with the community

Kaj E: The past is known, although diffused by memory,
the present is well illuminated.
What lies ahead is shrouded in mystery.

Share your secret photography places with the community

thedispossessed: I live a couple of hours from the Lake District National Park in NW England. While it is a popular place with approximately 18 million visitors a year, I don't usually head to the usual photo locations, such as Ashness Bridge, but instead plan a long walk that ends late in the day.

I bring a camera with a couple of lenses and plenty of provisions, and see what kind of photo opportunities I come across. The above photo was taken at the top of Clough Head, looking towards St. John's in the Vale, late in the evening in June. I often get home in the early hours after walks like this, but it is worth it for the photo opportunities – plus the usually crowded hills are much quieter in the evening.

Share your secret photography places with the community

Calretas: Rocky beaches at low tide can reveal incredible details. We have many good examples in Portugal, although my favorites are in Ericeira.

Share your secret photography places with the community

Gloomy1: This is my “secret place”. It is deep in the English Lake District but a 40-minute hike from the road, and I get the place to myself. Every visit is different, as the water level can change rapidly. Despite multiple visits, I can still envisage the “perfect” conditions, so I keep coming back. I have added an overview of the upper valley, with multiple waterfalls tumbling down its sides.

Thanks for sharing your secret photo-taking places!

Keep watch for the next Question of the week every other Wednesday to participate in this series. New questions are posted here on the homepage and in the forums.

Share your secret photography places with the community

For those who appreciate the cabin-like styling and simple layout of the Mysa 200 but find it too small, the larger Mysa 400 is similar but with a much roomier interior that's better suited to full-time living.

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Category: Tiny Houses, Outdoors

Tags: Building and Construction, Tiny Footprint, Micro-House, House, Home

Kazuto Yamaki, CEO of Sigma

Photo: Abby Ferguson

The camera market seems to be settling after the mirrorless boom, but Sigma's CEO, Kazuto Yamaki, remains pragmatic and focused on customer insights. As he put it, "customers are always way ahead of the manufacturers, so we can learn from them."

In our interview with Yamaki at this year's CP+ show in Yokohama, Japan, he shares his thoughts on the state of the camera industry and the role of APS-C in the current market. He also keeps us informed on the potential for multiple Sigma camera systems and where the Foveon sensor stands.

In Yamaki's view, the market slowdown is partly due to a lack of innovative products. He sees the Sigma BF as an answer to that.

Photo: Richard Butler

While most manufacturers told us that the camera market is doing well and rebounding after a few quiet years, Yamaki is a bit of a dissenting voice and has a more cautious view. "I'm a little bit concerned about the market situation or economic situation in general in 2026, mainly due to some instability in politics," he says.

Yamaki's concern extends beyond the current political environment as well, and he echoes his thoughts from last year's conversation. "To be honest, I feel that the market is slowing down," he explains. "After Covid, people were more interested in buying new camera lenses, because there were some exciting products at the time... But these days, they've already got that exciting, good performing camera and lenses, and due to some lack of innovation from the manufacturer side, I think the market is getting slower."

That doesn't mean that Yamaki is pessimistic about photography itself, though. He points to the younger generation finding enjoyment in older digital compacts and film cameras, and highlights the importance of a new approach to cameras. "For example, last year Sigma released the Sigma BF, which provides quite a different approach to the customers," he explains. "We proposed a different way of enjoying photography."

Sigma wasn't alone in releasing a camera with a fresh approach, and Yamaki highlights that as well. "Fujifilm also released the X half, quite a unique product. So I think some companies are trying to offer a new way of enjoying photography." He puts the onus on manufacturers to continue driving interest with potentially niche products: "The good news is that customers are still interested in photography, and there is a demand if we offer something interesting, something unique."

Coming up with fresh ideas is part of the challenge, but pricing is also a concern these days. Yamaki tells us that camera and lens prices are rising, potentially leaving some customers behind. The problem, he says, is that manufacturing costs are rising as well. "The production cost is getting higher and higher. The material cost and the energy cost, everything is getting higher and higher," he tells us.

Yamaki insists Sigma is still very focused on quality despite the challenges of rising costs. "We like to deliver the products at as low a price as possible. So, we do not sacrifice quality to deliver the product at a lower price." He is also insistent on keeping production local rather than outsourcing to reduce costs.

To a certain extent, that strategy is working, but it doesn't mean there hasn't been an impact on the company. "For us, we are doing really well in terms of sales," he says. "But because of the increased cost, the profit level is not so great." The company's dedication to maintaining quality and staying local has benefits, but it's at the expense of profit margins.

Sigma released the 17-40mm F1.8 DC Art last summer, and Yamaki says it's selling very well.

Image: Sigma

For Yamaki, that's where format choice starts to matter. He says full‑frame still has the highest demand, which means it has to be Sigma's priority for now. But he still sees the value in APS‑C, and that opinion goes beyond the fact that Nikon and Canon have primarily allowed APS-C lenses from third-parties. "I personally believe that the APS‑C‑sensor camera is quite a good system in terms of the balance between the quality, the size and the price," he says. "Especially that we can make the lenses quite compact and lightweight. So I think the APS‑C camera system is really good for many potential customers."

Early sales suggest that bet is paying off. Last year, Sigma released the 17-40mm F1.8, and he tells us that orders have significantly outstripped expectations, forcing the company to ramp up production several times and still leaving it struggling to catch up with demand. For Yamaki, that response is proof "there is still great potential for APS‑C system cameras."

The Sigma BF also marked a bold bet by Sigma, as it was a camera drastically different from what we've seen before. While Yamaki says it's too early to glean many insights from BF orders, it does seem that the goal of attracting a different type of customer has been successful. "I told you last time that one of our hypothetical potential customers for BF is some kind of artist, musician, architects, designers," he says. "And actually, after we released the product, we found that those people are interested in the camera."

"I'm quite amazed that we are getting a new type of customer," he adds. "They don't check new products from manufacturers regularly. They may not have visited DPReview. They may not go to a camera store every month, but they are interested in photography."

Adding to the story that the BF has attracted new customers is the popularity of the different colors. Yamaki tells us that initially, orders were split evenly between the black and silver versions. His theory is that existing photographers already had black lenses and wanted a camera body to match. "But these days, we sell way more silver bodies, because we have more newer customers," he explains.

Yamaki sees room for both the FP and BF approaches in the Sigma lineup.

Photo: Dan Bracaglia

Yamaki says they have also had feedback on the novel menu system of the BF. "In the beginning, they felt strange with quite a different menu system. But once they start using it, they really love it," he tells us. "So I still believe that the menu system of the BF is quite successful. It was successful because it's in line with the concept of BF, and the user interface system of the BF is very minimal and small, with a limited number of buttons and dials."

The minimal design of the BF, both in physical design and the menu system, is distinct from the FP, in Yamaki's view. "FP and BF are very compact and lightweight full‑frame mirrorless cameras. They look similar, but the actual concepts are quite different. And looking at our customers, some customers still like FP and others really like BF. Each camera gained a different customer base."

With the distinction between the two cameras, Yamaki sees potential for multiple camera systems in the Sigma lineup. "I think we can have a slightly different menu system concept for FP camera," he says when we ask about lessons from the BF's menu system. "We should apply a different type of menu system to other cameras," he adds. "But if people really like that menu system, in the future we may apply that system to other cameras."

While he's only talking about menu systems, the fact that he sees a place for both approaches suggests he sees a future with multiple camera types. Even more interesting is that he envisions multiple systems within Sigma. After all, every other company essentially has one menu system. It may be toned down for certain camera levels, but at the core, they are the same. Sigma clearly envisions something different, focusing on creating cameras that suit the needs of specific users rather than a one-size-fits-all option.

Speaking of new cameras, there's also an update on the long-awaited Foveon sensor. Last year, Yamaki told us Sigma had collaborated with researchers at a Japanese university to develop the full-frame Foveon sensor. Now, he tells us that the collaboration is almost complete. "We actually have already moved to the next stage. So we are now making another prototype," he tells us.

That doesn't mean people should get too excited yet, though, as there's still a long road ahead. "Although our engineers are working very hard, the progress is a little bit slower than we had expected. They are making some progress, but it is still early – too early to go to mass production... But now we are moving to a more product-like development stage."

Hong Kong startup ScoPix is pitching AI-powered night-vision binoculars that can identify and capture images of wildlife, objects, and landmarks in real time, even in near-total darkness.

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Category: Gear, Outdoors

Tags: Kickstarter, Night Vision, Binoculars, Artificial Intelligence

Czech automaker Škoda took on an interesting side quest recently to improve road safety – but for bicycles instead of cars.

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Category: Bicycles, Transport

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Mount Rushmore may have its home in South Dakota, but it’s also in Shenzhen, China. Here, the four presidents stare out over a section of a 118-acre (48-hectare) theme park, where iconic structures from across the world sit alongside each other, frozen in time as a rapidly growing tech metropolis rises around it.

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Category: Holiday Destinations, Outdoors

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It’s been a long time coming. At a media panel at the 2026 New York International Auto Show (NYIAS), Volkswagen Group of America’s CEO Kjell Gruner just said he “wouldn’t rule out” the idea of a pickup for the American market. That statement alone has sent heads spinning.

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Earthset

art002e009288 (April 6, 2026) – Earthset captured through the Orion spacecraft window at 6:41 p.m. EDT, April 6, 2026, during the Artemis II crew’s flyby of the Moon. A muted blue Earth with bright white clouds sets behind the cratered lunar surface. The dark portion of Earth is experiencing nighttime. On Earth’s day side, swirling clouds are visible over the Australia and Oceania region. In the foreground, Ohm crater has terraced edges and a flat floor interrupted by central peaks. Central peaks form in complex craters when the lunar surface, liquefied on impact, splashes upwards during the crater’s formation.

Nikon D5 | Nikon AF-S Nikkor 80-400mm f/4.5-5.6 G ED VR | 400mm | F8.0 | 1/1000 sec | ISO 400

Photo: NASA

Yesterday, the Artemis II crew successfully flew around the far side of the moon, a historic milestone in their journey. Thankfully, the team aboard Orion was hard at work taking loads of photographs throughout it all, and now NASA has shared some of those spectacular images.

One of the photographs included in this batch was the highly-anticipated recreation of the iconic Earthrise photo taken in 1968. The new version, featured at the top of the article, is actually the setting of Earth, but it is a special moment to see recreated.

Aretmis II In Eclipse

(April 6, 2026) – Captured by the Artemis II crew during their lunar flyby on April 6, 2026, this image shows the Moon fully eclipsing the Sun. From the crew’s perspective, the Moon appears large enough to completely block the Sun, creating nearly 54 minutes of totality and extending the view far beyond what is possible from Earth.

We see a glowing halo around the dark lunar disk. The science community is investigating whether this effect is due to the corona, zodiacal light, or a combination of the two. Also visible are stars, typically too faint to see when imaging the Moon, but with the Moon in darkness stars are readily imaged. This unique vantage point provides both a striking visual and a valuable opportunity for astronauts to document their observations during humanity’s return to deep space. The faint glow of the nearside of the Moon is visible in this image, having been illuminated by light reflected off the Earth.

Nikon Z9 | 35mm F2 AF-D | F/2 | 2.0 sec | ISO 1600

Photo: NASA

Also among the fresh round of photographs coming back from space were some amazing eclipse photos. One of which is the first photo we've seen from the Nikon Z9 sent along on the mission. The photograph shows a glowing halo around the moon, which scientists are still trying to work out the exact cause of. Stars are also visible, something that's normally not possible when photographing the Moon, since they are too faint compared to the Moon's brightness.

There are loads of other incredible photos, including some the crew took of each other in action, which you can see in the gallery below.

White walkers can't have EVs. Not because they are lifeless zombies who probably can't drive, but because the extreme cold of the north would severely impact the lithium batteries. Also, the region is quite large, so EVs would likely run out of juice before they could cover a good portion of its 1,100-mile length. Scientists in China may have solved both problems with a new lithium battery electrolyte that withstands cold temperatures and could double EV range.

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Category: Energy, Engineering

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We've seen lots of designs for vertical take-off and landing vehicles over the years, but none are quite as striking as the wings on HopFlyt's Cyclone. The curved wings have their root in a design first introduced in the 1920s but never employed in a commercial vehicle.

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Category: Aircraft, Transport

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Back in September, former crowdfunding darling XGIMI announced its first dip into commercial projection waters with the mighty Titan. Now that moniker has found its way onto a new series of premium tri-laser projectors headed to home theaters. The Titan Noir series brings powerful dual-iris contrast control and high brightness to the 4K watch party.

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Category: Home Entertainment, Consumer Tech, Technology

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Canon executives Tetsushi Hibi, Manabu Kato, Go Tokura, Kazumasa Yoshikawa, and Yoichi Sato.
Photo: Mitchell Clark

"The biggest trend for us in the market that we see is the entry of the new generation into the camera industry," says Manabu Kato, Executive Officer of Canon's Imaging Business Operations. "And, of course, that is why we are going to provide the services and products that will satisfy the needs of the younger generation."

Focusing on a new generation of photographers is a recurring through-line for Canon's leadership. At the recent CP+ Expo in Yokohama, Japan, we met with senior executives from Canon's camera division, including:

• Go Tokura: Executive Vice President and Head of Canon's Imaging Group
• Manabu Kato: Executive Officer, Imaging Business Operations
• Kazumasa Yoshikawa: Unit Executive, IMG Development Unit
• Tetsushi Hibi: Unit Executive, IMG Optical Business Unit
• Yoichi Sato: Senior General Manager, IMG Products Development Center

In a wide-ranging interview, we discussed a variety of topics, including the growing influence of compact cameras, the challenge of maintaining affordability in the current global economy, whether we can expect any changes to its licensing approach for the RF mount and more.

While an emerging generation of photographers is clearly a focal point of Canon's strategy, Go Tokura confirms the continued shift toward mirrorless cameras and expresses optimism about the market's stability.

"90% has now become mirrorless," he says. "And it's almost all occupied by Japanese makers. Last year, shipments from Japan totaled about 7 million units. In other words, the market grew slightly by about 6% or so. And we consider that this current market trend is going to continue, and there's not going to be a sudden plunge."

Canon says the biggest trend it sees in the camera market is the emergence of a new generation of photographers, many of whom are interested in compact cameras. However, mirrorless models remain the core of its camera business.
Photo: Richard Butler

However, Tokura points to the compact camera segment as a surprising area of momentum, noting that much of the growth is not being captured by traditional Japanese manufacturers.

"The compact camera market is gaining more and more momentum. Last year, the compact camera market was not really dominated by Japanese makers; about 50% of them came from other manufacturers outside of Japan. And we assess that the market size is going to be about 4 to 5 million units of the market because last year the shipment from Japan totaled about 2.4 million."

The drivers of this growth are complex, and Tokura admits there isn't a single defining factor he can point to. However, he suggests that supply constraints may be masking the market's true strength.

"From the result of the shipments, we see that the compact camera market has grown about 25% or so. And I have to say that supply is not fully satisfying the demand yet, and this situation is still continuing. We are enhancing our production capacity; what I mean is that the actual market strength can only be seen after we reach the actual production capacity that meets the demand."

Canon's view of the smartphone's role in the market has also evolved. Rather than replacing cameras, they believe smartphones are acting as a gateway for that younger generation to discover photography and seek out dedicated tools, particularly compact models.

"In the past, we thought smartphones should be good enough because everyone's taking photos on smartphones, right? But apparently, it was not the right prediction because many people started to have different tools: smartphones in one hand and a camera in the other hand, and they decide which one to use depending upon the use case."

"So they started to find the joy of using cameras. When they choose a second device after the smartphone, are they going to use the mirrorless camera? Possibly not, because it's a bit large and also it's pricey as well. That's why the compact camera is there for their choice, so this is a totally new need we see."

For many of these photographers, the experience a camera provides can outweigh any technical superiority it might have.

"What we observe," Tokura says, "is that the determining choice, when they decide which camera they are going to buy, is not just because of the performance, but how fashionable it is to own it, or how much joy they can feel."

"Of course, we have to increase our production capacity. That's the first thing we're going to do," he continues. "But as I mentioned before, the current customers of compact cameras are not really our past customers or existing customers... So the role of the next compact camera that we will release will be to satisfy these customers by offering new technologies or new applications." He adds that the company would like to review and restructure its full compact lineup.

As global costs rise, Canon says it relies on its manufacturing philosophy, monozukuri, to keep products accessible to enthusiasts.

"We consider affordability as one of the major aspects for us," Kato says. "The world is full of negative aspects in terms of cost, labor cost, and also tariffs as well. That is why we are pursuing high-productivity monozukuri, or manufacturing, and this is the area we are proud of."

Canon points to the recent RF 45mm F1.2 STM as a result of this effort. "As part of that, it was only last year we released the RF 45mm F1.2 STM, and that was enabled through our excellent product planning. This kind of planning will also be continued, and this is part of Canon's role."

Affordability also explains Canon's continued production of DSLRs for cost-sensitive emerging markets. "We have been continuing mass production of DSLRs, and market trends indicate that sales are still strong," says Tokura. "I hope we can sell more."

When asked where Canon is looking for future breakthroughs in image quality, Tokura emphasizes the balance between hardware and software while maintaining strict ethical boundaries regarding artificial intelligence.

"Utilizing artificial intelligence or deep learning technology in the field of image rendering is something we have to be careful of. We are fine to use AI or deep learning technology for correcting distortion that results from optical aberration… Having said that, we will never use such technology to create something that doesn't exist. This is where we draw the line."

To push the limits of what can be done to improve image quality, however, Tokura suggests the only real constraint is investment. "Yes, there are so many things we can do to advance technology and achieve higher performance. That is why no huge vault can satisfy our needs of spending money in a casual manner. We need a bigger vault. That's what I mean."

Finally, we addressed Canon's conservative approach to third-party licensing for the RF mount and whether current restrictions necessitated the development of niche first-party lenses, such as the RF 14mm F1.4 VCM.

"We listened to market feedback," says Tetsushi Hibi. "There was demand from the market for a large aperture and a wide lens. That is why we released this product."

Tokura adds, "Let me just use more precise words. We said that in order to respond to the customer feedback or in order to meet the customer's demand, but the word I actually want to use is to exceed the customer's demand. So this is what we, from the planning side, aim for."

Pressing further on the possibility of more broadly opening the RF mount to licensees, we noted that in 2025, Tokura told DPReview's Richard Butler, "I think one day we're going to be sitting here again and saying the environment has changed and the situation has changed."

"My answer is the same as last year," he says. "But you know, we have released so many lenses last year, and now we have like 60, almost 70 kinds of lenses. So this is part of the change of the environment you mentioned. So we will carefully watch and listen to the customers' feedback and make the strategic decision."

This article is based on an interview by Dale Baskin and Mitchell Clark at CP+ 2026. It has been edited for clarity and flow.

With its cowboy-chunky jawline and boxy, muscular body, it looks big, modern, tough, and desirable. And Detroit is suddenly worried.

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Tags: Concept Vehicle, Hyundai, SUV, Off-road, New York International Auto Show 2026

Raising a family in a tiny house is always going to be a challenge, but this three-bedroom model features a spacious layout that has been designed from the ground up with families in mind.

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Calling the Cyrusher Kommoda 3.0 a "bicycle" almost feels a little dishonest. Sure, it has pedals and technically fits into the ebike category, but when you twist the throttle, the whole experience leans a little more towards an electric moped that just happens to have pedals. The fat Arisun 20x4-inch tires, the 6061 aluminum step-through frame, and the 750-watt rear hub motor with nearly 63 lb-ft (85 Nm) of torque ... yeah, that all supports what I'm trying to illustrate here.

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Every time we've come across a vehicle from German tiny EV builder Ari Motors, we can't help but wonder if there's a camper version. For a while, the answer was a straight "No," but this month that all changes as the company releases what it's calling the smallest motorhome in Germany. While the Elektro Frosch and Spacecamper Bike might argue that point, Ari's 458 Pro Campervan is the type of tiny, adorable camping car you usually have to travel to Japan or South Korea to see, only now available in Europe. But there's also a series of major drawbacks lurking within the impossibly cute little e-RV.

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Category: RVs and Motorhomes, Adventure Vehicles, Outdoors

Tags: mini-campervan, electric-camper, Camping, RV, LCV, Campervan, Outdoors and Camping

During Major League Baseball's (MLB) opening season in 2025, the New York Yankees hit a team-record nine home runs in a single game. Six of those homers came from players using a unique bowling-pin-shaped bat known as a torpedo bat.

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Category: Sports, Consumer Tech, Technology

Tags: Baseball, Washington State University, Pennsylvania State University, University of Illinois, Sports

What does US$21,000 get you in automotive terms? Kia Soul, Chevrolet Trax, Nissan Versa, Hyundai Venue … You see a trend there, right? None of those cars is electric, and none of them are flagships by any stretch of imagination.

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Whether you’re camping for a few days, doing a day hike, or heading out for a weekend trek, the same rule always applies equally: pack light, carry less. That’s why multifunctional tools are so appealing when it comes to outdoor adventures. EaTi One, currently available for pledging on Kickstarter, at first glance looks just like a regular spork, but it actually combines 10 tools in one small unit.

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Category: Knives and Multitools, Gear, Outdoors

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We're finishing up our review of the Nikon ZR, the company's video-focused camera with the same 26MP partially stacked full-frame sensor found in the Z6III, and, as part of our testing, have put it in front of our studio test scene. We've captured a load of video stills to test out the camera's many, many video modes.

As with the Z6III, the ZR's compressed footage is very detailed in both 4K and 5.4K. However, Nikon has clearly changed how it processes this footage, and it appears to be applying less, or more subtle, sharpening than the Z6III.

Compared to hybrid stills/video cameras , the ZR has similar levels of detail to the similar pixel-count Panasonic S1II, as well as to the Canon EOS R6 III's oversampled 4K mode. However, the Canon's 7K open gate footage provides much more detail than the ZR's 5.4K capture, though it will take up more storage and has to be edited before delivery. The highest-resolution footage you can get from the ZR offers more detail than the Sony a7 V's oversampled 4K footage. That also initially appears to be the case if you compare the cameras' 4K output, but the ZR's has more aliasing, so it's not necessarily a better representation of the scene. It's also worth noting that the ZR comes in at a substantially lower price point than those cameras (though with a corresponding decrease in stills capabilities).

While bumping up to 60p doesn't come with a cost to field of view or detail, if you want to shoot in 120p, the camera will have to crop down to an APS-C region of the sensor. This results in less detail being captured, though it's the same amount as captured by the APS-C 24p mode.

The Nikon ZR supports internal Raw recording to three different formats: N-Raw, ProRes Raw, and R3D NE, a format currently unique to it. They all have the common caveats associated with Raw recording – using it will require post-processing (often using specific editing software), and the difference between Raw and Log isn't anything like as great as the difference between Raw and JPEG for stills – but for those that need it, it's available.

As you'd expect, the ZR's three flavors of Raw capture comparable amounts of detail at their 6K settings, though their default LUTs offer fairly different foundations to build your own grade on. Despite the similar image quality each version of Raw offers, there are substantial differences between what it's like to shoot them; we'll be posting an article comparing the three formats very soon.

Some ZR users, including cinematographer and YouTuber Philip Bloom, have noticed that the ZR appears to have more heavy-handed noise reduction than the Z6III, resulting in a softer image when shooting H.265 with the standard or N-Log response curves. While our single-frame test doesn't show that the ZR's H.265 mode captures noticeably less detail than the Z6III's (though there is decidedly less sharpening), we wouldn't be surprised if Nikon decided to increase noise reduction for the ZR, given the controversy that the Z6III gathered for having relatively noisy and sometimes flickering shadows when shooting Log. The sensor shared by these two cameras has relatively high noise in the deep shadows that Log-shooting exploits, so we suspect Nikon may be trying to compensate for that.

We plan on taking a closer look at the Z6III's footage versus the ZR's soon.

During our testing, we've shot various projects with the ZR and have been pleased with the footage we've got from it. Our test scene doesn't turn up any major surprises with regard to its image quality, but does reinforce the idea that shooting Raw with this camera will take some careful consideration when it comes to picking which format is the best for your particular usage.